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Robin R Probyn

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  1. Robin R Probyn
    I thinks its more the principle involved than anyones annual income.. if its at that level now.. its not good for any of us in this industry.. and given the amount of money this film made.. seems the pay could be argued to be very little for the value of the input ..
  2. Robin R Probyn
    The original film.. I thought there was only one..the one Tom Hanks starred in..? Im not sure why it was deemed a risky investment by the studio,s.. big star/dir /DP.. a film showing the might of the US armed forces .. a true story.. and a big box office draw star.. wheres the risk.. maybe with an unknown star.. ? Yes true enough re the studio,s actually admitting a profit.. in fact it was Tom Hanks production company that was involved with a court case about the film.. My Big Fat Greek Wedding.. for exactly that ..
  3. Robin R Probyn
    wow.. I wonder that he or any "top end" DP would agree to 6 weeks grading unpaid.. for the honour of it ..! if its so risky a film and likely not to make any money.. I would ask for a percentage then.. by the same logic..
  4. Robin R Probyn
    Its not really part of my world.. but I believe there are many top end Dp,s who will only take on a film ,if they are also present and paid to be at the grade..and presumably have some say in the grade.. to avoid exactly the above possibility .. Although I would have thought the "look" of the film would have been discussed at length before hand,with all heads of dept,s.. but maybe a change of director mid shoot or studio/star interference could occur.. but I doubt the colorist would ever take over from the Dp as far as framing and lighting goes.. because thats already happened.. but they could change the mood/look I suppose .. Im sure this has happened before.. but if its not in a contract.. I guess there is very little they can do.. except have your name taken off the film credits..
  5. Robin R Probyn
    I think PSF ,s most useful role is being able to see a Progressive recorded image on a monitor that will not take P input.. thats why its often a choice for monitor out..
  6. Robin R Probyn
    Ok thanks.. yes good idea re the small shotguns.. TBH I try to avoid DSLR at all costs :).. but alot of dir,s these days bring them.. pretty useful for time lapse or no audio stuff on a slider.. generally try to do the clap thing if audio involved.. I heard about puraleyes a while ago but didnt know it needed a scratch track to work with.. Thanks for the info..
  7. Robin R Probyn
    ah ok still confused.. I thought you were saying that the film formats were very high res.. but from the above it seems you are saying digital is high res and so you cant fudge things,cos you see the detail.. where as you cant with film..? so which is the high res format.. sorry if Im being thick here .. I cant get it straight .. :)
  8. Robin R Probyn
    Ok thanks guys.. I had been told this but wanted to check for more knowledgeable sources .. Ive never used it but it seems the answer to alot of problems when you have DSLR,s as b.c.d cams.. which had at least internal mic,s.. but they would have to be picking up a fairly decent audio track would they.. even if a scratch track.. ?
  9. Robin R Probyn
    Does Pluraleyes work better,easier if you record a scratch track on your original video in camera.. or doesn't make any difference.. Thanks
  10. Robin R Probyn
    I dont follow you.. first you say the resolution is alot higher in film than digital . 5 perf 6K..15 perf 12k..presumably 4 perf also.. but then 35mm film blurred the lines.. and allowed filmmakers to get away with alot more than digital .. get away with alot more what? sorry if Ive missed something ..
  11. Robin R Probyn
    I guess thats the crux.. as Satsuki says.. its nice to have the potential to correct problems,or make very small tweaks ..potential being the key word..but to have the frame or colour to be changed in any big way without the DP,s input.. is the other side of the coin..
  12. Robin R Probyn
    haha Yes got to watch these Broken Biscuit Company dictates from on high .. mostly written by bench tech,s or even management who have never been on a shoot..or rarely even go outside.. but that comment is not only wrong for 4K shooting,as in it makes no difference .. but the opposite is true if shooting 4K for HD delivery .. which would be 99.9% of Beeb footage
  13. Robin R Probyn
    Thanks.. interesting article.. TBH personally I found the Mr Robot framing way too contrived.. hey wow look at my arty framing.. without it being part of or helping the story at all.. often the "rules" of framing are there for good reason.. also from the world of art.. or way further back when you think of the golden section ..they just look better.. if it part of the story/mood/scene.. to use un conventional framing Im all for it.. . but if not.. why do it.. I think it can detract from the story.. just my opinion of course..
  14. Robin R Probyn
    ah yes ... that would be right.. I cant remember if they said if they were actually shooting right at midday .. but yes I guess they must have been shooting with some ND.. keep forgetting there are camera,s without in built ND,s.. .. :) Thanks for the link Satsuki .. seems some copy right thing going on.. great talk though..
  15. Robin R Probyn
    No ND,s mentioned..just opening up the iris to the max.. without clipping I presume.. the DIT wanted max data for grading.. which was counter intuitive for him,compared to how he would have done it on film.. don't have the link now.. it was John Seale and the B cam DP.. an ACS presentation.. might still be online.. very interesting.. about the whole making of MM from the original 3D camera option ..
  16. Robin R Probyn
    As above.. I set my camera menu to 4K.. the 128GB card will record only 1 hour.. a larger HDD for backup.. PTI.. (pan ,tilt,invoice) The idea that 4K makes hand held more critical is bogus.. and probably written by BBC management :).. if HD delivery its actually the opposite. I think the biggest difference for TV/Corp HD delivery is the possibility to reframe for a closer frame.. small zoom in,s.. pans etc.. that can be done in post.. to the original DP,s liking or not.. otherwise the camera is the same camera .. no difference for the operator that I have ever experienced .. Some camera,s like the Sony F5/55 will always record off the full 4K sensor even when set to record HD.. its down sampled in the camera..
  17. Robin R Probyn
    Sorry.. but Phil being in a good mood and all un British is far more of a worry.. ye gads man.. get a grip.. and cease all this banter and jocularity ..with Johnny Foreigner.. get back to the snow in Blighty man..
  18. Robin R Probyn
    Yes it wasn't really technical .. just his amazement at shooting day for night ,pretty much the same as you would for straight day.. compared to how he had done it, Im sure many times over, on film..
  19. Robin R Probyn
    There was an interesting part of John Seale,s talk at the Australia ACS about day for night shooting for Mad Max .. where it was the complete opposite of how he had worked with film.. the DIT kept on requesting they open up the iris more.. so it was shot actually more wide open than normal day exposure.. to get a ton of data for then grading down to a night look..
  20. Robin R Probyn
    Yes agree.. you will get a "nose" for the dodgy outfits.. and require payment before handing over rushes.. that was my main job as a loader in the 80,s on music video,s.. literally I had to hide the film cans on set,or lock in my car.. but the largest amount I got stuffed was from a big company that had been around for years.. but went bankrupt/was already when I was hired for a shoot !.. Its going to happen a couple of times in anyones career.. hopefully this is one of the few for you.. for longer shoots its a good idea to get paid installments during the shoot..
  21. Robin R Probyn
    Sorry to tell you that you,ll probably have to chalk it up to experience .. like probably every camera person on this forum I,ve also been stiffed on a shoot.. ownership of video footage anyway, seems to be not very straight forward compared to stills.. and even if you have the copyright in Australia ..your legal fee,s will be more than your payment and drag on for months/years.. its worth hassling to some degree.. but these people usually had no intention of paying you in the first place.. and know the law is on their side more than yours.. the anger does wear off after a while :)...
  22. Robin R Probyn
    oh ok .. I only recently bought an easy rig and agree it does take a bit of getting used to.. so how is this strap attached above your head ?
  23. Robin R Probyn
    easy rig is what you are talking about I think.. ?
  24. Robin R Probyn
    Put the other way round.. why worry about $150 for a card reader.. compared holding up your whole production by down loading from the camera.. in the professional field no one is doing that for good reasons.. same with SxS cards.. you are buying peace of mind.. there is a big difference in quality control between SxS and SD cards.. if they were the same no one would buy the SxS cards.. you get what you pay for..
  25. Robin R Probyn
    "Just the SxS might be marginally more reliable. " :D yes just a bit..
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